Le prologue des Choéphores est-il composé ...
Document type :
Article dans une revue scientifique: Article original
Permalink :
Title :
Le prologue des Choéphores est-il composé en anneau ?
Author(s) :
Journal title :
Lexis : poetica, retorica e comunicazione della tradizione classica
Pages :
151-167
Publisher :
Adolf M Hakkert
Publication date :
2012
English keyword(s) :
Aeschylus
Choephori
Prologue
ring composition
Orestes’ revenge
Choephori
Prologue
ring composition
Orestes’ revenge
HAL domain(s) :
Sciences de l'Homme et Société/Etudes classiques
English abstract : [en]
This paper is a study of the Prologue of Aeschylus’ Choephori (lines 1 to 19). It argues that the whole prologue is shaped by ring composition, and examines the interpretative consequences of Aeschylus’ adaptation of means ...
Show more >This paper is a study of the Prologue of Aeschylus’ Choephori (lines 1 to 19). It argues that the whole prologue is shaped by ring composition, and examines the interpretative consequences of Aeschylus’ adaptation of means of composition inherited from oral poetry. Grammatical, lexical, semantic and metric repetitions are analysed, as well as the significant variations that we can observe within these repetitions. An analysis of the occurrence of ring composition in lines 10 to 18a explains how Orestes recognises Electra in the procession of the women leading to Agamemnon’s tomb. Recognising that ring composition shapes the whole prologue (lines 1-19) explains why Orestes’ call to vengeance is successively placed under the protection of Hermes (lines 1 f.) and Zeus (lines 18 f.). This leads to the conclusion that Orestes’ vengeance is made legitimate from both points of view: that of the dead – namely of his father –, and that of the living who have been deprived by their mother’s crime of their regal prerogatives – namely himself and his sister. Thus, the core of this ring composition, which introduces the character of Electra, gives a new dimension to Orestes’ revenge, which was at first presented as being undertaken in the interests of Agamemnon.Show less >
Show more >This paper is a study of the Prologue of Aeschylus’ Choephori (lines 1 to 19). It argues that the whole prologue is shaped by ring composition, and examines the interpretative consequences of Aeschylus’ adaptation of means of composition inherited from oral poetry. Grammatical, lexical, semantic and metric repetitions are analysed, as well as the significant variations that we can observe within these repetitions. An analysis of the occurrence of ring composition in lines 10 to 18a explains how Orestes recognises Electra in the procession of the women leading to Agamemnon’s tomb. Recognising that ring composition shapes the whole prologue (lines 1-19) explains why Orestes’ call to vengeance is successively placed under the protection of Hermes (lines 1 f.) and Zeus (lines 18 f.). This leads to the conclusion that Orestes’ vengeance is made legitimate from both points of view: that of the dead – namely of his father –, and that of the living who have been deprived by their mother’s crime of their regal prerogatives – namely himself and his sister. Thus, the core of this ring composition, which introduces the character of Electra, gives a new dimension to Orestes’ revenge, which was at first presented as being undertaken in the interests of Agamemnon.Show less >
Language :
Français
Peer reviewed article :
Oui
Audience :
Internationale
Popular science :
Non
Collections :
Source :
Submission date :
2025-01-24T04:32:48Z